Standard Pattern Blocks- Flat vs. Classic

Tiki left some questions in comments and I thought I would address them in a separate blog entry.

I am reworking some of my patterns and have both Aldrich's and Armstrong's books as well. As you mentioned, I have noticed that my own kids' clothes from various manufacturers are drafted "flat" as Aldrich describes it, with the front and back patterns basically identical except for the neckline, but was wondering if you could explain more why that is the standard.

Here is a picture of what Tiki is talking about. Aldrich is the only other person I know of that addresses this topic. It is true that most childrenswear manufacturers work off of flat blocks, especially for infants. Aldrich only presents it for infant casual clothing. But I have seen variations of the idea spanning all children's sizes.


My basic blocks are a variation of the flat method. The armholes and shoulders of the front and backs pieces are identical. The body widths match (the long vertical line indicates the center back/front). The flat fit is a little more boxy and loose. My fit is not too boxy, but it does allow for some growth. You can see the fit of this bodice on one of my dresses. The patterns are not too boxy because the side seams do taper inward and my front waist has some curve. Aldrich's patterns have a straight side seam and waistline. BTW, I am not done refining the shape of this pattern - I am considering narrowing the shoulders and reducing the armhole. You have to start somewhere with your patterns, and they will evolve as you refine your fit.

I have read the discussion of armhole and sleeve shaping from Kathleen's blog and book and was wondering if the standard in the children's wear industry is due to simplicity in drafting, etc (perhaps because there is more ease built into the design of the garment itself) or if there is a specific anatomical/physical reason that makes drafting the asymmetrical sleeve/armhole unnecessary in children's wear. I guess, in other words, is that only the standard in loose children's garments or would drafting a more fitted children's garment with the same symmetrical sleeve still be correct/standard?

I can't say for sure why this is the standard. It is definitely not something I learned in school, but rather on the job. Tiki's instincts are probably right. There is a simplicity in the drafting of flat pattern blocks, and it does save some time. There is a physical limitation too. The smaller the size, the less practical it becomes to draft a classic block. A flat block gives some wearing ease and allows for growth. Children, after all, grow and a little extra ease allows the clothing to be worn longer. And yes, you can draft a more fitted bodice block with symmetrical armholes/sleeves. That is what I did with my patterns because it is what looked right to me. Here are some pictures of a classic, fitted block with asymmetric armholes (click on images for a better view).

This is a set of classic bodices sized three month. You can see the small armhole - there is little room to draw a nice curve. The back armhole is nearly a straight line. These drafts are based off of Aldrich's book. A classic block would be more appropriate for larger sizes.





This is a corresponding sleeve with an asymmetric sleeve cap. The sleeve cap seems really high and the curves are abrupt, IMO. These blocks could certainly work, but they require more refining. I opted to modify my blocks so they were semi-fitted and flat. The curves are easier and sewing is easier.

There is a relationship with children's body shapes and the flat method. Young children are simple round cylindrical shapes until about the age of 5 and it makes sense to keep the patterns simple.

I'm having difficulty understanding from Aldrich's book what makes the "flat" block or "classic" block more appropriate for a particular style, so I wondered what was standard practice here in the industry. I hope this makes sense.

I look at it this way. Flat blocks are good for casual styles, like t-shirts. Classic blocks are good for more formal looks. Flat blocks are good for infant sizes, classic for older. Your fit and look defines your design and you can opt for either method. Usually I see a modified classic block for fit, but with symmetrical armholes and shoulders (perhaps more of a convention rather than a standard). I have seen some designers use only classic blocks and others only flat. Really, the decision is up to you.

This is a topic I am still researching and trying to understand. I hate to label flat blocks as a standard because there are several possible methods that may be considered "right" or the "standard". Pattern making is considered a technical, rigid system, but don't be afraid to do things your way. I learn things from those who do not have formal training and are not afraid to do things a little different. Sure there are certain accepted standards for labeling patterns or placing notches. Acceptable shaping and fit is open to interpretation.

Americana Apron from a 1950's sewing pattern

Ok, this is day 7 of the Sew, Mama, Sew challenge of 30 gifts in 30 days. Here is my entry that was supposed to be for day 1. Of course, I made two, because I was in desperate need of a new one. DH used our only apron to carve some elk - let's just say it's not too pretty anymore. From here on out, I am only doing one of each item on the list that I can manage to accomplish.

I chose a pattern I had made as a teenager - it came from an old high school Home Ec manual of the 1950s. I loved this pattern as a teenager, but what I failed to realize is that I (ahem) am not a teenager anymore. The original pattern has a cute bib with ties. I am thinking my younger, shorter sister, aka Twiggy, should be able to wear this with no problem. She recently has expressed an interest in cooking, so I will tuck a couple of my favorite go-to recipes in the pocket.

I know that I said most of my gifts would be made from scraps. Well, I purchased this fabric from the thrift store for about $2 and it has been collecting dust in my stash for at least 5 years. I think it counts - plus, this fabric may show up in other scrappy projects.

I left the bib off of my apron, which works just fine. DH says it makes me look like a 1950s housewife. Not sure what to say about that..... Anyhoo, both aprons are trimmed with some left over ribbon along the hem and pocket. And yes, I am wearing socks with my shoes because the mountains are chilly this time of year.....








Here is the book that I acquired as a teenager. I still love it. I wish modern Home Ec books were so practical about making a home as this one.

Up next on the list for Nov 8th is "Whimsy". I have no idea what I will come up with. I may browse some books at the library for ideas. Whimsical is something I am not so this may be a good design exercise.

Sewing Tutorial - Set-in sleeves

This is my first sewing tutorial for sewing set-in sleeves flat - please forgive the photo intensive entry and anything that is not too clear. Here, I am testing some refinements to my cap sleeve pattern. I am doing the sewing with my domestic Singer 503 (a fabulous machine, btw). The technique is essentially the same on a 4-5 spool serger or industrial straight stitch machine. Some of this is my personal opinion, some fairly standard fabric handling techniques. Please note, my sleeve pattern has no ease.

Place the sleeve against the feed dogs, the body on top. Notice that I am using no pins, no basting, and no ease stitching. There is a single notch at the center of the sleeve cap. My sleeve is symmetrical front to back so there are no extra notches to indicate the back or front of the sleeve. Adult clothing would have extra notches, so make sure to match up fronts or backs or you will have a funny looking sleeve.



Do you see the placement of my hands? My left hand is holding the body and my right hand is controlling the sleeve. This is one of the major differences of industrial vs. home sewing. Home sewists like to pin the two layers together and have everything move together in lock step. With this method I can control the two layers as they move under the foot by ever so subtly pulling or pushing. It takes time, practice, and confidence in your pattern to develop this skill but it is absolutely essential.

This picture just shows that the shoulder seam and the sleeve notch meet up. Another industrial technique is that the operators will tap the foot pedal. Home sewers press down on the foot pedal like they are at the races. But during certain operations, the operator can gain more control by tapping the foot pedal. This can help while going around a curve.



This picture tries to illustrate why the sleeve should be next to the feed dogs. If there is any ease (and it should be minimal) the feed dogs will do the work of easing for you. My sleeve has no ease so this picture isn't accurate. If there were ease, it would look something like this on the inside.




This is a view of the top of the sleeve cap. There seems to be a few puckers, but that is a combination of poor lighting and the fabric - a poly-cotton broadcloth. The sleeve cap is actually nice and smooth.










Stitch the side seam from the waist to the sleeve hem making sure the armscye/sleeve cap seam allowances are turned toward the sleeve. The seam allowances, when turned in the right direction, will fill the sleeve cap and help give it a nice rounded shape from the outside. Some operators will allow the seams to lay in opposite directions (for bulk, they may go in opposite directions, but otherwise they shouldn't).


The finished sleeve.